The conclusion of any critical essay must in large measure be lame and halting; must indeed be a whispered warning to the reader to take what has gone before, however ardently expressed, with that wise pinch of true Attic salt which mitigates even a relative finality in these high things.
One comes to feel more and more, as one reads many books, that judicial decisions are laughable and useless in this rare atmosphere, and that the mere utterance of such platitudinous decrees sets the pronouncer of them outside the inner and exclusive pale.
One comes to feel more and more that all that any of us has a right to do is to set down as patiently and tenderly as he may the particular response, here or there, from this side or the other, as it chances to happen, that is aroused in his own soul by those historic works of art, which, whatever principle of selection it is that places them in our hands, have fallen somehow across our path.
It might seem that a direct, natural and spontaneous response, of the kind I have in my mind, to these famous works, were easy enough of attainment. Nothing, on the contrary, is more difficult to secure or more seldom secured.
One might almost hazard the paradox that the real art of criticism only begins when we shake ourselves free of all books and win access to that locked and sealed and uncut volume which is the book of our own feelings.
The art of self-culture—one learns just that when youth's outward-looking curiosity and passion begin to ebb—is the art of freeing oneself from the influence of books so that one may enjoy what one is destined to enjoy without pedantry or scruple. And yet, by the profound law of the system of things, when one has thus freed oneself from the tyranny of literary catchwords and the dead weight of cultivated public opinion, one comes back to the world of books with an added zest. It is then, and only then, that one reads with real unscrupulousness, thinking solely of the pleasure, and nothing of the rectitude or propriety or adequacy of what we take up.
And it is then that the great figures of the master-writers appear in their true light; the light—that is to say—in which we, and not another, have visualised them, felt them, and reacted from them.
It is wonderful what thrilling pleasures there are in store for us in literature when once we have cut ourselves adrift from all this superfluity of cultured opinion, and have given ourselves complete leave to love what we like and hate what we like and be indifferent to what we like, as the world swings round!
I think the secret of making an exquisite use of literature so that it shall colour and penetrate our days is only a small part of what the wisest epicureans among us are concerned with attaining. I think it is one of the most precious benefits conferred on us by every new writer that he flings us back more deeply than ever upon ourselves. We draw out of him his vision, his peculiar atmosphere, his especial quality of mental and emotional tone. We savour this and assimilate it and store it up, as something which we have made our own and which is there to fall back upon when we want it. But beyond our enjoyment of this new increment to our treasury of feeling, we are driven inwards once more in a kind of intellectual rivalry with the very thing we have just acquired, and in precise proportion as it has seemed to us exciting and original we are roused in the depths of our mind to substitute something else for it; and this something else is nothing less than the evocation of our own originality, called up out of the hidden caverns of our being to claim its own creative place in the communion between our soul and the world.
I can only speak for myself; but my own preference among writers will always be for those whose genius consists rather in creating a certain mental atmosphere than in hammering out isolated works of art, rounded and complete.